#sargenthouse

[whoshotthefrog]

Botch - We Are The Romans: Black/Blue (741)

[archiced]

Botch - American Nervoso - Limited Edition on Silver in Blue vinyl (? ex) #botch #americannervoso #sargenthouse #posthardcore #metalrecords #vinyl #vinyllove #vinyllovers #vinyladdict #musiconvinyl #vinylgeek #vinylporn #vinylclub #vinylcollector #vinylgram #vinylcommunity #vinylrecords #vinylcollective #vinyligclub #33rpm #45rpm #vinyloftheday #vinyllover #recordcollection #vinylcollection #vinyljunkie #instavinyl #igvinylclub #nowspinning @botch_band @sargenthouse @evil_greed https://www.instagram.com/p/CpnSPoxt6LC/?igshid=NGJjMDIxMWI=

[screamingforyears]

IN A MINUTE:

AN INDIE EXPRESS...

@aaaveytttare is here w/ a brand new standalone single titled “VAMPIRE TONGUES” (@dominorecordco) & it finds the Baltimore-based artist/producer linking up w/ his AnCo bandmate @pandabearofficial “to learn something from my old friend Noah” across a sub-4 min slice of eerily glitch’d ArtPop.

“CHANGE” is the lead single from @enumclaw.online’s forthcoming sophomore LP titled ‘Home In Another Life’ (8/30 @RunForCover) & it finds the Tacoma-based quartet of Aramis Johnson (guitar/vocals), Ladaniel Gipson (drums), Nathan Cornell (guitar) & Eli Edwards (bass) living that “coolest band in America” lyfe across 3 ½ anthemic mins of passionately propulsive & guitar-driven AltRawk.

@foliage_man are back w/ a brand new standalone single titled “FOLLOW” & it finds the solo project of San Berdoo’s Manuel Joseph Walker linking up w/ @sunderisaband to bring a dreamily delicious 3:23 clip of bashfully blissed, urgently earnest & guitar_poppin IndieRock.

@wearethebandcallednightshift are here w/ “PHONE,” the second single from their forthcoming LP titled ‘Homosapien’ (7/26 @troubleinmindrecords) & it finds the Glasgow-based quartet of Eothen Stearn (voice/keys), Chris White (guitar/vox), Andrew Doig (bass/vox) & Rob Alexander (drums) dealing w/ matters of the distanced heart across 3 mins of soulfully retro’d IndiePop.

“INDIGO” is the lead track from @rezzzn freshly released LP titled ‘Burden’ (@sargenthouse) & it finds the Chicago-based quartet of Rob McWilliams (guitar/vocals), Phil Cangelosi (bass/rainstick), Patrick Dunn (drums/percussion) & Spencer Ouellette (synths/sax/lapsteel/flute/piano) summoning the strength across a sub-5 min slice of proggy Doom.

[chorusfm]

Cathy Pellow Leaving Sargent House Records

Cathy Pellow is stepping away from Sargent House Records over allegations by Henry Kohen of Mylets. https://www.instagram.com/sargenthouse/?utm_source=ig_embed&ig_rid=cb65fec3-22ce-459f-b3ac-3295f5f03595 --- Please consider becoming a member so we can keep bringing you stories like this one. ◎ https://chorus.fm/news/cathy-pellow-leaving-sargent-house-records/

[tommass147]

Lingua Ignota - Sinner Get Ready #nowspinningonvinyl #onmyturntable #vinylcommunity #vinylcollectionpost #vinylporn #vinylcoverdesign @lingua_ignota @sargenthouse https://www.instagram.com/p/CngvFR8sgGv/?igshid=NGJjMDIxMWI=

[f0restpunk]

Deafheaven (@deafheavenband) - Infinite Granite (@sargenthouse) On Infinite Granite, Sunbather's frenetic blackgaze fury retreats further and further into the rearview until it's barely a blip. Instead, they deliver a clean, sparkling surprisingly beautiful album that leans more heavily into pure shoegaze territory. On first listen, i thought Deafheaven were going to go full Ulver, ditching black metal entirely to become a fully-fledged synthpop/guitar-driven indie band. Which is fine, everything changes. After obsessively listening to Infinite Granite all day, however, i've changed my tune. Instead, i feel like Deafheaven are saying they don't need gimmicks to be an excellent band and deliver truly epic metallic music. And there are still some furious explosions, full of blastbeats and primal yowls towards the back half of the album. The cleaner production actually works in their favour as they reveal themselves to be excellent musicians. Take the opening guitar chords of album opener "Shellstar," as delicious discordant as a blueberry vinaigrette. Jazz chords don't tend to fare as well when slathered in walls of burning feedback. It creates a more nuanced melodic pallet that suggests Deafheaven are maturing as a band, as musicians, and as people. So don't write this off just cuz it sounds different. Give it a chance, especially if you like classic '90s shoegaze like Chapterhouse. 8.5/10 . #Deafheaven #InfiniteGranite #SargentHouse #NewMusic #NewMusicFriday #newrelease #albumreleaseday #August20 #August202021 #shoegaze #blackgaze #postmetal #postblackmetal #blackmetal #indie #indierock #indierockband #gimmeindierock #shoegazer #shoegazersofinstagram #shoegazeclassics #blackmetalhead #metalheadsofinstagram #indiemusic #albumoftheday #nowplaying #amlistening #jsimpson #albumreview #musicjournalism https://www.instagram.com/p/CS0Wl4WLGZl/?utm_medium=tumblr

[doug-peabody]

Sargent House Museum - Gloucester, Massachusetts . . . #sargenthouse #sargenthousemuseum #museum #museums #museumsofinstagram #museumsoftheworld #inspiration #instagood #photooftheday #nikonphotography #photograph #picoftheday #instagram #instadaily #gloucester #gloucesterma #massachusetts #ma #newengland #newenglandarchitecture #processed (at Gloucester, Massachusetts) https://www.instagram.com/p/CTidCa_Fa0f/?utm_medium=tumblr

[richeybeckett]

Honoured to have been invited to create poster art to celebrate @earthseattle ‘s current tour of Europe ✨ Available tonight at @earthackney and at all forthcoming shows as a limited set of 75 numbered metallic gold on ivory stock with a super limited variant of 25 gold on harvest stock ✨ expertly printed by @printsofthieves ✨ A huge thanks to @drcarlsonalbion and @sargenthouse for the opportunity and for their kindness and support ✨ ••• #earth #earthseattle #richeybeckett #penandink #screenprint #art #illustration #sargenthouse https://www.instagram.com/p/B4-S0AqlEGy/?igshid=1eih92xwkg0c1

[brianewing]

Another BELATED BIRTHDAY this time for @EMMARUTHRUNDLE If you haven’t checked out Emma’s music you should RIGHT NOW! She has a new European tour starting tomorrow! With an amazing poster by Richey Beckett! . Last year #EmmaRuthRundle commissioned me to design a poster for her #ondarkhorses tour. It was a lot of fun to do and got me to try and push the #anatomical style a bit further. I’m very proud of this collaboration. . EMMA RUTH RUNDLE with @JayeJayle 18”x24" Screen Print More info HERE http://bodega.brianewing.com/emma-ruth-rundle-tour-poster/ or Link In Bio . HEY CALIFORNIA!! I’ll have a booth at @DesignerCon 11/22 thru 11/24 . ALL ORDERS HAVE SHIPPED!!! . . . . . #illustration #design #JayeJayle @capsulesbook #anatomy #sargenthouse #victorian #shoegaze #equestrian #horseanatomy #rosetattoo #gigposter #anatomy #skull #calavera #portrait #detail #darkart #lineart #inking #brianewingfiendclub #brianewing https://www.instagram.com/p/B3f4c8PlokV/?igshid=thdui7jzm8lq

[sargenthouse]

Album of the Week: Brutus - NEST // TrebleZine

article via TrebleZine

Brutus introduced their second album Nest with a live-in-studio video of first single “War,” and to watch the five-minute performance clip is to immediately witness what makes the Belgian trio such a compelling musical force. As a song, “War” has a lot going on—a tense, melancholy verse, a blistering crust-punk midsection, some Oathbreaker-style post-black metal ferocity—but their strengths seem all the more impressive when viewed up close. Drummer/vocalist Stefanie Mannaerts has an immediately striking vocal presence, at once capable of both restraint and some truly heroic range, but given a brief reprieve from her singing duties, she transforms into a pummeling physical presence behind the drums. Meanwhile, guitarist Stijn Vanhoegaerden seems to barely break a sweat as he transitions from haunting arpeggios to soaring tremolo riffs to pure hardcore crunch. The sound of the band is awesome, but the tension between the players makes the dynamic even more powerful.

“War” is a microcosm of Brutus’ full capabilities as a band on Nest, showing just how much three musicians can do with three instruments and a microphone. It’s a novel idea in an age when endless overdubs means a little extra hard drive space over shelves full of analog reels, but Brutus does more than most with a lot less. They’re the type of band that hammers out all of their ideas together in a small rehearsal space, making rock music the democratic way; “Everyone can say what they want,” Mannaerts said about their creative process. “Doesn’t matter what instrument you play.” That live, all-hands-on-deck approach gives the album a more urgent, intense musical sensibility, which in turn makes the human emotion coursing through these 11 songs all the more resonant.

All of Brutus’ strengths are up front to hear in their tense, explosive glory in the album’s first song, “Fire.” It’s an appropriately incendiary early standout, balancing the tension between the band’s dark, spacious atmosphere and their compulsion toward full-throttle pummel. Yet there’s a tenderness beneath the explosions; Mannaerts initially belts, “Fire!/ Burn them all,” but she soon draws the listener closer with a message of comfort and belonging: “You’re lost and scared/ You walk with us.” Anger and frustration are often channels for therapeutic release here and, at their most seething, they can tap into a familiar kind of hurt. “Cemetery” is their most viscerally aggressive song, a punchy blast of post-hardcore that turns Bikini Kill’s “Rebel Girl” on its head as Mannaerts screams the kinds of condemnation people usually reserve for subtweets: “That girl, I could never trust her, she’s a fucking wreck/ We never were, we never will be best friends.”

Nest is often about finding a place to belong or making sense of a darkness that we can’t always shake. It’s perhaps more accurately a collection of sad songs than angry ones, but Brutus doesn’t really do ballads—not exactly. There’s a mournful quality to “War” as Mannaerts sings, “Our world, it’s gone/ Did we ever grieve or cry, no…“, but its aggressive eruption signals a desperate surge to do something instead of resigned acceptance of something that’s lost. Depression hangs heavy like stormclouds over “Horde V,” which carries some pretty stormy black metal passages of its own, but as Mannaerts sings, “I want it back, back to bright,” she’s fighting like hell to find shelter.

In an emotional sense, Nest can feel pretty heavy, though it’s never a bummer. That’s in large part due to just how frequently Brutus are kicking ass, which is pretty much all the time whether on a melodic punk moment like “Blind” or a darkly triumphant anthem such as “Django.” An album like Nest doesn’t just require the physical abilities of the players—all of whom play the hell out of every last song—but imagination as well. The arrangements, the hooks and structures are all a lot more interesting than most three-minute rock songs usually make allowances for, but they’re still powerful, even catchy. It’s not just a reminder of why heavy rock music is still worth caring about, but of why you loved it in the first place.

[whoshotthefrog]

Rezn - Burden: Yellow with Red and Orange Splatter

[archiced]

Brutus - Unison Life - Limited Edition on Yellow/Orange Splatter vinyl (353/800 ex) #brutus #unisonlife #sargenthouse #posthardcore #metalrecords #vinyl #vinyllove #vinyllovers #vinyladdict #musiconvinyl #vinylgeek #vinylporn #vinylclub #vinylcollector #vinylgram #vinylcommunity #vinylrecords #vinylcollective #vinyligclub #33rpm #45rpm #vinyloftheday #vinyllover #recordcollection #vinylcollection #vinyljunkie #instavinyl #igvinylclub #nowspinning @wearebrutus @sargenthouse @evil_greed @hasslerecords https://www.instagram.com/p/Ckn627cNyln/?igshid=NGJjMDIxMWI=

[screamingforyears]

IN A MINUTE: // A POST_PUNK_ISH EXPRESS… // “A STUMP IN EDEN” is the lead single/closing track from @cageddoom’s forthcoming EP titled ‘From Roving About the Earth’ (9/29 @translationlossrecords @knifehitsrecords) & it finds the Philly-based quintet of Ryan Manley (guitars), John Jones (vox), Tim Cutler (drums), Tyler Butler (bass) & Joe Hughes (no-input mixer/turntables) sprawling out across 8 ½ mins of filthily fucked DoomMetal. // “DECEIVER” is a brand-new standalone single from @cuffed_cult & it finds Tyler "Fournames" Fortneylns’ Los Angeles-based project cracking the whip across across 3 1/2 mins of deliciously deviant & dancefloor-ready DarkWave. // “NOWHERE TO HIDE” is the lead track on @jeezel_petes’ freshly released EP titled ‘Absent Points of View’ & it finds the Chicago-based trio of Cam Cunningham (guitar/composition), Eric Novak (bass/vox) & Zach Upton-Davis (drums) bringing a zany bout mathily deranged, wackily nu_waving & prog_rawking PostPunk. // @mutoidman are here w/ “DEMONS,” the final single in the run-up to their forthcoming LP titled ‘Mutants’ (7/28 @sargenthouse) & it finds the NY-based trio of singer/guitarist Steve Brodsky (Cave In), drummer Ben Koller (Converge) & bassist Jeff Matz (High On Fire) bringing their “own little psycho jam” across a 2:48 clip of three psychos thrashily jamming out.

[yzrysiyzrysi]

Tera Melos - Untitled LP #np #vinyl #lp #mathrock #postrock #rock #experimental #limitededition #coloredvinyl #teramelos #sargenthouse https://www.instagram.com/p/Cgo_nozPvSU/?igshid=NGJjMDIxMWI=

[peyotelookbook]

$20

[danzameccanica]

Una parte di me continua ancora ad avere una reazione di repulsione nei confronti dei Deafheaven. Sunbather era un disco che mi aveva in qualche modo disorientato ma anche se non riesco a dire che sia un capolavoro non riesco nemmeno a dire l’opposto. Quello che non mi è piaciuto sta negli album successivi. Ormai non riesco più a mandare giù quelle chitarre alternative-shoegaze; quelle sonorità alla Editors post 2007. Produzioni bellissime, cristalline, delay e chorus nella reinterpretazione contemporanea dello shoegaze rigorosamente mischiato col dream-pop. E se prima del 2010 mi meravigliava ascoltare gruppi come Alcest, Lantlôs, Les Descrets ecc. ora ci sono alcuni suoni che mi rimangono sul groppone. In particolare nei recenti Deafheaven odio ancora questo passare dalle parti più sognanti al canone blackmetal così, di netto, senza sfumature. Ammetto che ancora mi viene di prenderli a schiaffi quando vedo le loro foto promozionali pieni di odiosi sincretismi contemporanei (felpa dei behemoth, t-shirt di Morrissey o dei Portishead, giacca di lana, chiodo di pelle, parka, occhialini da hipster).

Però quello che hanno fatto con Infinite Grain non è un salto di qualità ma sono finalmente a far quadrare un cerchio. Possiamo dire che hanno quasi fatto cadere totalmente la maschera del metal estremo per creare una configurazione ibrida fra alternative rock anni ’90 e le atmosfere dream-pop anni 80. Ci sono influenze che vanno dai Chameleons, ai The Wake agli Slint, ai Sunny Day Real Estate. Ma nelle ispirazioni contemporanee si possono carpire pure gli A Perfect Circle o i Nothing. “Great Mass of Color” è tanto perfetta quanto orecchiabile; si sente in fondo alle strofe che il batterista viene dal mondo hardcore perché sicuramente un batterista più rock classico non le chiuderebbe così. Fraseggi e assoli vengono direttamente dal mondo alternative rock anni ’90 mentre la classica accoppiata voce calda + chitarre da sogno attinge a piene mai dai Piano Magic o dai Porcupine Tree (”Lament for Wasps”). Other Language, per gli ascoltatori più vicini al mondo gothic metal italiano, richiamerà tanto i Klimt1918 quanto i Novembre, ma la scelta delle sonorità dei Deafheaven strizzerà l’occhio sempre più agli anni ’80. E poi, quell’ibrido che vira sulla musica estrema si rivela alla fine di giusto un paio di brani (”Mass of Color ad esempio ), aumentando piano piano gli overdrive; giuro che compaiono anche gli screaming ma sono lontani, dilatati, rarefatti… ed emergono in maniera naturale quando alla fine, il brano, si è completamente disvelato. “Mombasa” ha perfino un accenno di leggero synth moroderiano in sottofondo, bisogna andare a cercare sotto gli strati sonori, dove i Deafheaven hanno nascosto le loro foto del passato. Emergono ancora, per un’ultima volta le urla e la rabbia delle origini, ma ora questa feralità emerge in modo organico, alla fine del viaggio (stupendo il fraseggio di chitarra verso la fine, sopra i blast-beat), quando abbiamo smosso piano piano la sabbia intorno a noi, fino a farci cadere nel buco, scavato quasi a forza di carezze.